Tom Sefton
Forum Replies Created
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Everything.
Not just program’s either. Learn everything there is to learn from pitching an idea to writing a script, to switching the camera on and finishing the edit. Then learn how to deal with clients – when times are great, when they won’t pay, and when you don’t have clients.
Good luck!
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Add up the full value of all of your kit that you will use to do the job. Divide it by 10-this is a good start point for a daily hire charge. Then you can negotiate with them about whether they pay for every day of use or have a 3 day week agreement (3 days charge for each 5 day period).
It’s only fair they should pay-if you weren’t there they would have to pay for hire through a local shop. Maybe you could ask what one near you charges? Calumet in the uk has got a very comprehensive kit list for dry hire that you could convert to US prices….
You should charge something, and make sure you allow for insurance costs for your gear whilst away. Worst scenario is you charge nothing and $1k worth of kit ends up stolen/lost/damaged.
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Is there no-one from BM who can offer any technical support?
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Anyone? Really stuck here….
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+1 for Dave’s Keylight advice about using the source monitor and clipping the black and white levels.
If this doesn’t work try masking off quadrants of your subjects body and keying each individually.
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Literally just happened to me, in this forum with a post about how much to charge for a screen capture/VFX job.
Strange…
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Undercharging is the best way to find yourself bankrupt…
Next time agree an hourly fee and keep a timecard, or agree a fee for the job. The absolute MINIMUM you want to charge for an hourly rate for doing this job is $100…
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It sounds as though the public body has had an idea pitched to them by a production company. The public body loves the idea and wants to produce it, but procurement won’t allow them to commission the production company directly. Instead they ask them to write the specification, and cost it for them with a nod and a wink that they will get it.
If I was you, I would spend a few hours responding to it and then put the most obnoxiously cheap quote to them. I mean so low that they can’t do anything but talk to you.
What you do after that is up to you, but some firms might then bill ridiculous amounts in justifiable extras….
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I’ve been reading your blog Walter – very interesting.
We have done something very similar in the last few years, but we didn’t wait for FCPX to make the change. I watched with amazement as a colleague of mine made edits, after effects work, photoshop work and cut Blu Rays with Adobe dynamic link and a relatively cheap workstation and decided to move to windows machines. We spent about £3.5k building a superfast PC with Blackmagic hardware and have never looked back. We still have a Mac Pro with FCP but it hardly ever gets used anymore.
If you look at FCPX development it’s on a “fast track” (which brings some bumps along with it as far as QC and bugs) but they are pushing very hard. Updates have been at about a 12 week clip and of the three that have happened so far, two had significant feature additions.
Craig – this goes back to one of my earlier points. Adobe software is already better, more professional and better value for money than FCPX (yes FCPX is cheaper, but something that is half price that doesn’t work very well is not worth $5 let alone its full price is it?). If Adobe keeps improving, what does this bode for FCPX? Adobe is also on a fast track with improving CS6 and beyond…. I cant wait to see what we are editing with over the next few years, but after moving away from Apple hardware and software, I will be quick to move to whichever is best in the future. For now and the forseeable future, it is Adobe and by a long way.
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I notice it’s kind of a British quirk to shorten names of things that are already comfortably short
Mr Pot, Mr Kettle called for you and left a message….